Americana Music Reviews

Kevin Atwater
One Lucky Man
Iron Horse Records

by David Pilot

"Rocks!" and "Sucks!" aside, two kinds of debut albums exist. One is the fiercely independent and fervently heartfelt offering of a picker who knows his/her songs are the truth. Those albums are usually the ones with ten or eleven original cuts and a toss-in from Guy Clark or Townes to help prove the new kid's got roots and means bidness.

Kevin Atwater's One Lucky Man is the other kind. Let's get that out of the way right up front. Eleven songs here, two from Atwater's pen. The front nine are a stack of weighed and measured offerings from some of Nashville's current crop of bests, while the two closing tracks make it clear Atwater does have a vision of his own and a dream or two to chase on the way to realizing it. Behind the song selection is a collection of session players who know exactly what they're doing and how to make it all fit together the way the producer's hearing it in the 'phones. In short, Atwater's got the pieces in place for this disc, and his people have done a fine job of making him accessible while showcasing the range of tunes he can deliver extremely well. Only thing really missing is a piece of Kevin himself.

Off the bat, we get a rocking little two-stepper titled "Whisky Sour (Ain't No Good Way)," a defiant heartbreak tale told from the standard turned-to-drinking point of view that borrows its groove from a watered-down "Boot Scoot Boogie." It sounds canned, probably because with session players it sort of is. Bet it'd sound a damned sight better on a Friday night about 11:30 with a regular band. Still, Atwater's growling guitar keeps it kicking and Craig Krampf (Little Richard, Ozzy Osbourne, among others) provides a ripping percussion track from go to whoa.

Up next we get the Kenny Chesney treatment from Atwater's first single, "Kissing This Ring." This is perfect for Clear Channel radio fare, the by-the-numbers gonna-be-faithful-and-straighten-my-act-up tune that Nashville's enamored of these days. "I'm There" stays in the same vein, slowing down a good bit for the ever-popular ballad batting in the three hole. This is the first time we really get a fair shake at hearing Atwater's vocals stand on their own, and stand is exactly what they do. While the tenor range's upper regions present a snag or two, these baritone-fitted songs are something Atwater excels at.

It really makes no difference where I am
Or where I try to go
There's always a part of you that stays with me
And now I finally know
There's the slightest part of you
And girl I swear
I'm there

"My Future Ain't What It Used To Be" sounds like the producer got ahold of it a bit too much a bit too soon. Lyrically it's not going to be confused with Steve Young and "Black Land Farm," but it is a red dirt coming-of-age song that rings true as the pickup truck rolls back into the small town where the journey to find the world once started. This'll sound good on Today's New Country and Yesterday's Stars radio right now, but re-worked and played with a bit more feeling it'd be a keeper in the honky-tonks on the back roads where the working men go to play.

Track five, "Don't Try to Find Me," evokes George Strait from back in the day, and Pat Sevier's pedal steel work damn near makes the track all on its own. Atwater again showcases some rangy pipes, making it clear to the old flame just where he's not really actually honestly sitting around hoping she shows up.

At the Holiday Inn in Dallas
The one off LBJ
You can see the sign from the freeway
Exit 1908
At the end of the hall on the top floor
Overlooking the pool, 304
That's probably where I'm gonna be
Don't try to find me

The standout keyboards of Pete Wasner (RZW readers might recognize his work with Bruce Robison, David Ball or Chris LeDoux) make their first real appearance on the title track, and bring life to the sweet little ditty. It's the most formulaic of Nashville songs, but it's here because these types of tunes do have an audience. Atwater knows that well and excels on this brand of song.

Kevin makes his debut with a song of his own on "My Time," a song full of catchy hooks and slick guitar work providing solid backing for Atwater's acknowledgment of the road ahead and a confident vocal track that lays claim to the kingdom's keys.

The penultimate track, "Here's Looking At You," slow dances its way back to the balladry and warm vocals that Kevin's best suited for, and is easily the prettiest song One Lucky Man serves up.

Then it's back to country rock on "Don't Let Your Dreams Pass You By," as Kevin closes the show with another of his own. There's a raw and honest feel to this song that evokes some of Chris Wall's collection, and it's a fitting wrap-up to the disc. You'll need to get your own copy of One Lucky Man to make your own decision on this one, but as Comstock Records propels Kevin Atwater toward recognition (he's a hit in Europe as you read this) and as Kevin himself continues to find the direction he'll make his own, it looks like a career worth watching. From northern California by way of Pauls Valley, Oklahoma, Atwater's been exposed to some of the best. He can do the Nashville thing and do it well. He could make a run at the current Texas and Americana thing if he wants. Or he can avoid the distinctions altogether and just make music all his own, which is the challenge to be met on whatever his second disc turns out to be. The debut makes it clear what Atwater's capable of. We'll stay tuned for the rest.

* For the disc and info, hit www.kevinatwater.com. For info on Kevin and several artists Rockzillaworld readers will appreciate, try www.comstockrecords.com.

Contact David Pilot at: tailgunner-at-rockzilla.net

 
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